There is a potential that all [interaction designers] could afford to mirror from the natural energy of our being. The performance of our body movements is after all magical and enchanting. Perhaps, via dance, the power of body movements may reconﬁgure so as to transfer its charisma while cliches in interaction design determine its future. Or perhaps dance as a metaphor can claim for [touch screen] interactions, viewed as cold interfaces of pictures under glass, a certain sense of emotional potency. Strong and disciplined he (the user) stands in front of it (the interface), back straight and feet apart, looking emotionless. It looks back at him – transparent ready to be touched and played with. Gazing at it in front, he spreads his hands out ready to explore the world and beyond at his ﬁnger tips, literally. As his hands move from side to side his ﬁnger tips afﬁx meanings and perceptions change. The ﬁngers take onto speciﬁc forms that speak to speciﬁc behaviors. His movements are geometric as he moves at 90 degree angles from left to right, top to bottom and forms circles. They have speciﬁc interpretations. He stops and his wrist turns with only the thumb, pointer and middle ﬁnger out. These too are translated with speciﬁc meanings. Through out the motion he is conﬁdent and controlled. It, on the other hand, is transparent yet robust. Color coded with blues and grays it ﬂows to the movement of his ﬁngers. His hands are the only connection between the two and it understands them. After spending some time with each other he knows the moves and it knows what needs to be done. It does whats told to be done, no questions asked. If we have seen it once we know we have seen it many times. This generic interaction of sliding, clicking, scrolling and moving are made into a spectacle in the much acclaimed Minority Report, Avatar, Terra Nova and Iron Man. We are seduced by it and believe that in the near future our relationship with these interfaces will be as shown to us in the fantastical world of hollywood cinema. These interfaces celebrate human accomplishments in the technological realm. Going back to the ﬁrst touchscreen invented in UK these interfaces are as private or as public as we want them to be. Their relationship is less human and emotional. It is only natural for him to display some emotion through his actions but he cannot loose sight of the role he plays while directing it to do what he wants it to do. It does not see what we (as spectators) see. We see the energy of the movement through speed and time. He sees the transparent screen in front that is there to serve him. It is hypnotized by the point of the ﬁngertip it sees. The point is its primary focus that it is forced to follow and serve to. In a way it does not serve the entirety of his being directly. The point of a ﬁnger that it reads connects them together. He is dedicated to communicate with it as effectively as possible while it loyally provides for all his needs. They both in unanimous adhere to the skillful artisinal perfection of the choreographer and make the performance look effortless. His performance started even before he was in front of it. He prepares, puts on the right gear and gets into the right frame of mind that will allow him to do what needs to be done. His feet are ﬁrmly grounded, legs straight parallel to each other, stomach sucked in and back straight. Hands spread out he faces it with determination. The only other movement we see is his waist when he must reach out to its extreme ends. In a way the human controlling the machine has been ‘mechanized’. The choreography of his movements are structured and he is required to take on another form while communicating with the interface. There is a perverse nature to the idea of human movements being mechanized. In a way we mock the emotional attributes that are associated with them. However, when in front of the screen, emotional movements are no different from the ‘mechanized’ movements. Whether it is in using the mouse or the tip of the ﬁngers and hands, the poetic movements loose value and is read at face value. At this point, cliches within movements determine the design of all interfaces that speculate a technological future. Hence, it becomes vital to connect the historic importance to its relevance today and in future speculations. What are these cliche movements? Some of them are scrolling up, down and side ways, tapping to click, using both hands to zoom in and out.